The Fischer-Dieskau Edition: Songs by Great Artist-Composers

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Adolf Busch, Bruno Walter, Dietrich Fischer-Dieskau, Emil Nikolaus von Rezniček, Enrico Mainardi, Ferruccio Busoni, Gustav Mahler, Wilhelm Kempff

Few will debate the statement that Dietrich Fischer-Dieskau (1925- )
is the most recorded singer of all time. In 2000, the Deutsche
Grammophon label honored his accomplished career with the
release of the “Fischer-Dieskau Edition,” a 20-CD set of this
German baritone’s recordings. Today, we listened to “Songs by
Great Artists-Composers” from this set. It featured original works by
Gustav Mahler (1860-1911), Emil Nikolaus von Rezniček (1860-1945),
Ferruccio Busoni (1866-1924), Wilhelm Kempff (1895-1991), Adolf Busch
(1891-1952), Bruno Walter (1876-1962), and Enrico Mainardi
(1897-1976).

Dietrich Fischer-Dieskau recorded these songs in 1959, 1960 and
1964. He was accompanied at the piano by Karl Engel, Günther
Weissenborn,  Jörg Demus and Wilhelm Kempff. With the exceptions
of the pieces by Mahler and Busoni, the works from these composers
provided me with a fascinating foray into obscure lieder repertoire.

The disc begins with a group of songs by Gustav Mahler. Four
out of these five songs were from Mahler’s group of lieder,
“Des Knaben Wunderhorn.” Two of these songs provided templates
for the third movements in both of his “Second” and “Third”
Symphonies. Karl Engel provided the piano accompaniment
for these pieces.

“Vier Bet- Und Bussgesänge,” a group of songs for voice and
piano by Emil Nikolaus von Rezniček, were performed next. They
are best described as reflecting a “post Brahms” compositional
idiom. Günther Weissenborn was the accompanist.

Fischer-Dieskau then sang a fascinating group of “character”
pieces by Ferruccio Busoni. The harmonic settings for these four
songs were unlike any others that I’d heard before.

Pianist Wilhelm Kempff then provided the accompaniment for
his own group of four songs, adding a special element of
authenticity to Fischer-Dieskau’s interpretations.

The following three songs by violinist Adolph Busch added both
piano and viola accompaniments to the vocal line. In my opinion,
these works were the least important ones on this disc, from
a compositional standpoint. Unfortunately, the accompanying
violist was not credited in the liner notes.

The next three songs by conductor Bruno Walter were also not
“ground-breaking” compositions, but they did reflect a different
style, when compared with the other works on this disc.

From a design and harmonic standpoint, the most modern
compositions on this disc were the final two songs by cellist
Enrico Mainardi. They were also the only pieces that were
performed in Italian.

Dietrich Fischer-Dieskau lavished these songs with exemplary
care, using each one of them as his opportunity to tell a story.
As noted above, these recordings were made between 1959
and 1964, capturing him during his vocal prime. He was also
accompanied by superb instrumentalists throughout his
performances.

The sound engineers at Deutsche Grammophon deserve
praise for these excellent remastered pieces, and this highly
recommended, 20-CD set is difficult to find. If you stumble
across the set, or any individual discs from it, you should
grab them while you can!

Bruno Walter: The Maestro, The Man

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Bruno Walter

“Bruno Walter: The Maestro, The Man” is a 2003 DVD release from VAI,
taken from the Canadian Broadcasting Company archives. Dating from
1958, it depicts a rehearsal with Walter (1876-1962) conducting the
Vancouver International Festival Orchestra in the two outer movements
of Johannes Brahms “Symphony No. 2.” Sandwiched between these
two movements is a very insightful and revealing interview with
Dr. Walter, conducted in his backyard by Los Angeles Times music critic,
Albert Goldberg.

This is perhaps the first time that I’ve seen actual footage of Bruno Walter
in rehearsal, and considering his status as a conductor, it was naturally
of great value. What emerged was a man who appeared to be more
concerned with phrasing and dynamics, as opposed to (but not excluding)
precision and ensemble for their own sake. The result was music making
of a high order which breathed with warm spirituality, and was most
satisfying. It must have also been something of a pleasure to play under
him, as an orchestral musician. Unlike some of his illustrious colleagues,
he was clearly not a martinet!

The roughly 20-minute interview was the treat for me, because his views
on music and the composers who meant a lot to him were explained, in
a fair amount of depth. Walter was quite articulate when discussing these
matters in English, which was obviously not his first language. He appeared
to be a man who took a rather spiritual approach to these masterworks,
and talked about the traits a conductor should possess, in order to be
successful. Walter also said that he felt that atonal music violated the
basic principles of music, and couldn’t stomach it. When questioned about
jazz, he REALLY expressed his dislike. He stated that it “…appealed
primarily to the basest instincts.” I can imagine what he would have said,
had Goldberg asked him about “rock ‘n roll!” Walter was definitely an
“old school” kinda guy.

One of the special bonus features was a written biography of Bruno
Walter. The other feature was an audio performance he conducted in
1939 of Hector Berlioz’ “Symphonie Fantastique.” Since Walter is
primarily associated with music of the Austro-German school, I thought
that this performance would be interesting, which it was. However,
I can’t, in all honesty, say that it was one of the better performances
of the work that I’ve heard. Although the audio transfer from 78 rpm
records was quite good, I felt Walter did some strange things at times
with the tempi, and that also at times, greater precision would have
been nice. The orchestra was that of the Paris Conservatory, and the
performance was again courtesy of the Canadian Broadcasting Company,
and taken from two consecutive days in May of that year.

This film was in black and white, and the sound was typical “mono
broadcast quality” of the era, i.e., not that great. “Bruno Walter: The
Maestro, The Man” is essential viewing, just for the opportunity to see
one of the 20th Century great conductors in rehearsal and interviewed.
The audio bonus of the “Symphonie Fantastique” is not so essential, but
worth it anyway.